(2) — A Revolt of Many: — "Fontovejune," by Lope
de Vega; Schiller's "William Tell;" Zola's "Germinal;"
"The Weavers of Silesia," by Hauptmann (forbidden in
1893 with the approval of a Parliament soon afterward
dissolved); "L'Automne," by Paul Adam and Gabriel
Mourey (forbidden in 1893 with the approval of another
Parliament shortly before its dissolution); "L'Armee
dans la Ville" (Jules Romain, 1911): "The Fourteenth
of July" (Roland, 1902). From fiction: a part of the
"Fortunes des Rougon" by Zola. From history; the
taking of the Bastile, and numerous disturbances of the
same period.

This species of action, particularly in modern scenes,
has given fine virile dramas to England, Spain, Italy
and Germany; of a forceful and authoritative character in the two first countries, of a youthful enthusiastic type in the two last. France, most certainly,
would seem of all countries the most likely to understand and express such emotions.

But. . . "Thermidor" was prohibited "for fear"
it might offend the friends (centenarians apparently)
of Maximilian; "Le Pater" "for fear" it might be displeasing to Communists; Zola's "Germinal" and
"L'Automne" by Adam and Mourey (two works painted
in widely different colors, as the titles sufficiently indicate) were stopped "for fear" of the objections of a few conservatives; "Other People's Money" by Hennique,
"for fear" of shocking certain financiers who have since
been put behind bars; "Lohengrin " (although the subject is Celtic) was long forbidden "for fear" of irritating
a half-dozen illiterate French chauvinists; an infinite
number of other plays "for fear" of annoying Germany